Year: 2020
File: MP3@320K/s
Time: 36:44
Size: 85,0 MB
Art: Front
(2:32) 1. Dixie Cinderella
(3:09) 2. Porgy
(4:34) 3. Magnolia's Wedding Day
(2:26) 4. Doin' the Crazy Walk
(5:02) 5. New St. Louis Blues
(3:14) 6. Here Comes My Blackbird
(2:32) 7. Can't We Get Together
(3:49) 8. I Can't Give You Anything but Love
(3:31) 9. Sweet Savannah Sue
(3:16) 10. Diga Diga Doo
(2:34) 11. Baby
17 April 1930, Welwyn Garden City, Hertfordshire, England. In the 40s Barber studied trombone and bass at the Guildhall School of Music, eventually choosing the former as his principal instrument (although he occasionally played bass in later years). In the late 40s he formed his first band, which, unusually, was formed as a co-operative. Also in the band were Monty Sunshine, Ron Bowden and Lonnie Donegan. By the early 50s the band had gained a considerable following but it was nevertheless decided to invite Ken Colyer to join. The move was musically promising but proved to be unsuccessful when the personalities involved clashed repeatedly. Eventually, Colyer left and was replaced by Pat Halcox. The vocalist Ottilie Patterson joined in 1954 when she was Barber’s girlfriend, (they married in 1959). In the mid-50s Barber also tried his hand at skiffle and his own Chris Barber Skiffle Group featured during this time Ron Bowden (drums), Dickie Bishop (vocals), and the powerful but nasal vocalist/guitarist Johnny Duncan. Barber played upright bass during this time, an instrument on which he is equally adept. Many years later, Paul McCartney’s recording of Bishop’s composition ‘No Other Baby’ was one of the highlights of his comeback rock ‘n’ roll set, Run Devil Run.Aided by remarkably consistent personnel, the Barber band was soon one of the UK’s leading traditional groups and was well placed to take advantage of the surge of interest in this form of jazz in the late 50s and early 60s. Barber experienced a ‘freak’ hit in the pop charts in 1959 when his arrangement of Sydney Bechet’s ‘Petite Fleur’ became a huge hit (No. 3 in the UK). The track was issued from a 1957 album to catch the boom that trad was experiencing. The clarinet solo was beautifully played by Monty Sunshine and remains a classic of the era. The decline in popularity of ‘trad’, which came on the heels of the beat group explosion, had a dramatic effect on many British jazz bands, but Barber’s fared much better than most.
This was owed in part to his astute business sense and also his keen awareness of musical trends and a willingness to accommodate other forms without compromising his high musical standards.In the 60s Barber changed the name of the band to the Chris Barber Blues and Jazz Band. Into the traditional elements of the band’s book he incorporated ragtime but also worked with such modern musicians as Joe Harriott. Among his most important activities at this time was his active promotion of R&B and the blues, which he underlined by bringing major American artists to the UK, often at his own expense. Through such philanthropy he brought to the attention of British audiences the likes of Sister Rosetta Tharpe, Brownie McGhee, Louis Jordan and Muddy Waters. Not content with performing the older blues styles, Barber also acknowledged the contemporary interest in blues evinced by rock musicians and audiences and hired such players as John Slaughter and Pete York (ex-Spencer Davis Group), who worked happily beside long-serving sidemen Halcox, Ian Wheeler, Vic Pitt and others. In the 70s, Barber focused more on mainstream music, showing a special affinity for small Duke Ellington -styled bands, and toured with visitors such as Russell Procope, Wild Bill Davis, Trummy Young and John Lewis. He also maintained his contact with his jazz roots and, simultaneously, the contemporary blues scene by touring widely with his Take Me Back To New Orleans show, which featured Dr. John. He happily entered his fifth decade as a band leader with no discernible flagging of interest, enthusiasm, skill or, indeed, of his audience. In 1991 he was awarded the OBE, the same year as Panama! was released, featuring the excellent trumpet playing of Wendell Brunious. As a trombone player, Barber’s work is enhanced by his rich sound and flowing solo style. It is, however, as band leader and trendspotter that he has made his greatest contribution to the jazz scene, both internationally and, especially, in the UK. https://www.oldies.com/artist-biography/Chris-Barber.html
R.I.P.
March 2, 2021
Born: April 17, 1930, Welwyn Garden City, United Kingdom
This was owed in part to his astute business sense and also his keen awareness of musical trends and a willingness to accommodate other forms without compromising his high musical standards.In the 60s Barber changed the name of the band to the Chris Barber Blues and Jazz Band. Into the traditional elements of the band’s book he incorporated ragtime but also worked with such modern musicians as Joe Harriott. Among his most important activities at this time was his active promotion of R&B and the blues, which he underlined by bringing major American artists to the UK, often at his own expense. Through such philanthropy he brought to the attention of British audiences the likes of Sister Rosetta Tharpe, Brownie McGhee, Louis Jordan and Muddy Waters. Not content with performing the older blues styles, Barber also acknowledged the contemporary interest in blues evinced by rock musicians and audiences and hired such players as John Slaughter and Pete York (ex-Spencer Davis Group), who worked happily beside long-serving sidemen Halcox, Ian Wheeler, Vic Pitt and others. In the 70s, Barber focused more on mainstream music, showing a special affinity for small Duke Ellington -styled bands, and toured with visitors such as Russell Procope, Wild Bill Davis, Trummy Young and John Lewis. He also maintained his contact with his jazz roots and, simultaneously, the contemporary blues scene by touring widely with his Take Me Back To New Orleans show, which featured Dr. John. He happily entered his fifth decade as a band leader with no discernible flagging of interest, enthusiasm, skill or, indeed, of his audience. In 1991 he was awarded the OBE, the same year as Panama! was released, featuring the excellent trumpet playing of Wendell Brunious. As a trombone player, Barber’s work is enhanced by his rich sound and flowing solo style. It is, however, as band leader and trendspotter that he has made his greatest contribution to the jazz scene, both internationally and, especially, in the UK. https://www.oldies.com/artist-biography/Chris-Barber.html
R.I.P.
March 2, 2021
Born: April 17, 1930, Welwyn Garden City, United Kingdom
Is it True 'Bout Chris Barber & Ottilie Patterson?
